Kurs: CA1004 30 hp

2018
Master Program Degree Project
Institution of Classical Music

Handledare: Katarina Ström-Harg

Paula Cebrián Puig

Jeanine Rueff Sonata

Did the composer use some dodecaphonic series
in the piece or did she write it in a free form?
Abstract
Jeanine Rueff´s Sonata is a dodecaphonic piece for an unaccompanied saxophone.
The aim of this thesis is two fold: First I will do an analysis of the Sonata to try to
discover if she used some characteristic series (original, inverted, retrograde,
inverted-retrograde…) in her style or, otherwise, she wrote free form.
Then, I am going to talk about this technique and the evolution from classical
music to atonality and, eventually, I am going to perform the piece in my final
master recital.

Key words: Saxophone, Jeanine Rueff, twelve-tone technique, classical

saxophone, analysis, musical research, Daniel Deffayet.

Table of contents

1. Introduction 1

2. Background 2-3

3. Aim 4

4. Method 4-5

5. Execution&Analysis 5- 32

5.1 Twelve tone technique 5-6

5.2 Evolution from classical music to atonality 6-7

5.3 Jeanine Rueff 8-10

5.3.1 Biography
5.3.2 Pieces for saxophone
5.3.3 Pieces for another instruments

5.4 Daniel Deffayet 10-12

5.4.1 Biography
5.4.2 Works recorded by Daniel Deffayet

5.5 Analysis of the piece 13-20

5.6 Piece 21-29

5.7 Conclusion 30-31

6. Discussion 31-33

7. References 34-35
 1. Introduction

The history of the saxophone can be traced back over 150 years.
Although that seems a long time, the saxophone is one of the
newer instruments in the musical world. It was invented by
Antoine-Joseph Sax (Adolphe Sax) on the 20th of March of
1846 1. He was an excellent instrument designer and a talented
musician (he played the flute and the clarinet) from Belgium.
After that, many composers started writing music for
saxophone, using the saxophone as a solo instrument and
sometimes with a symphony orchestra. But, unfortunately, the
saxophone is not seen very often in the orchestra yet.


I have done my research about the “Sonata for alto Saxophone”

of Jeanine Rueff, because I think it is a very interesting piece
and, moreover, there has not been any previous analysis of it. It
is a twelve-tone-technique work and a saxophone solo piece
(without any accompaniment). Nowadays, musicians still play
it in a lot of different Saxophone International Competitions,
such as "The Adolphe Sax International Competition " which
takes place in Dinant (Belgium) or "Andorra Sax Festival” in
Andorra (Spain).

The idea came to me because last year I played this Sonata and
I found the fact of doing the analysis as a challenge. I have
never analyzed any dodecaphonic piece and, moreover, it is an
opportunity to play it better and being more knowledgeable
about the piece.

1 Editors of Encyclopedia Britannica (2018). Adolphe Sax. Available at: https://www.britannica.com/

biography/Antoine-Joseph-Sax

1
In order to do this, I looked for information about Jeanine Rueff,
Daniel Deffayet and the style of the work (the twelve-tone
technique). I did the analysis of the piece and I tried to discover
if she had used some series or if she had just written it in a free
form. Eventually, I carried out a technical and an interpretative
performance in my final exam.

This work should be done by every saxophonist, because they

will be able to get a totally high technical level, expression and
even a personal improvement.

The question I aim to answer is, “Did the composer use some
dodecaphonic series in the piece or did she write it in a free
form?”

I am going to try to answer the question at the end of this work.

2. Background

I was born in Valencia, Spain and my grandfather was the only one
in my family who knew something about music (he played the
piano, and he had studied music for 5 years). Although, at the
beginning I was not very motivated to study music, he encouraged
me and, nowadays, I am very happy with this decision.

During my early childhood I used to play tennis, athletics and music

at the same time. I chose the saxophone because I liked the sound of
the instrument when I listened and watched it on the TV. At the
beginning, I only knew classical music but, during my academic
years I realized that it was possible to play more styles such as jazz,

2
 rock and contemporary too. The saxophone is definitely a very
versatile instrument.
When I finished the high school and I had to choose a university
degree, my options were music studies (classical saxophone) or a
physical education (PE) degree. I finally decided to stay in music
studies, so I applied for my bachelor at the “Conservatorio Superior
de Música” in Valencia. These were really good years, and I learned
a lot. Moreover, I met really nice people there and, during my last
year, I began to think about doing my Master Degree abroad. I did
this in order to improve as a musician mainly, and to have the
opportunity to know other cultures, other people lifestyles and other
languages.

During these two years in Sweden, I realized that I would like to

work in an orchestra; however, as I said before, there are not many
pieces for saxophones. Then, I thought about playing in a saxophone
quartet or working as a saxophone teacher, which was a good idea
too.

During my bachelor in Spain I found really interesting to analyze

pieces from different composers and styles. Furthermore, this piece
is one of my favorites, because of the character and the use of a
complex technique.

This piece has elegance, humor and a characteristic spirit on the

second half of the 20th century in France” a notation of one of my
teachers2 .

2 Pérez, A. Saxophone teacher “ Conservatory of Valencia, Spain”

3
3. Aim

After this previous introduction, where I explain the central idea

of the project, my background and the twelve-tone technique, I
am going to explain the goals of my work.

The key and main point is to do an exhaustive analysis of the

piece. I am going to find out if the composer used some
dodecaphonic series in the piece or she wrote it in a free form.
Afterwards, I am going to answer this question.

The main aim is to answer the previous question; however, we

will also aim at learning about twelve-tone technique, improving
technically and interpretatively the piece and getting
information about Daniel Deffayet and Jeanine Rueff.

4. Method

I did a specific recollection of a lot of pieces of information

from different sources such as books, articles and web sites. I
listened the Daniel Deffayet’s recording of this work and other
works composed by Jeanine Rueff, in order to understand her
composition style, whether it was for saxophone, other
instruments or chamber music. For my master exam concert, I
am going to perform the Sonata of Jeanine Rueff, written for an
unaccompanied saxophone.

4
The different steps I followed to do the research of the work
were:

1. Characteristics of twelve-tone technique.

2. Evolution from classical music to atonality.

3. Biography of Jeanine Rueff, pieces for saxophone and other

instruments.
4. Biography of Daniel Deffayet and his recordings.

5. Analysis of the work.

6. Individual technical study of the work.

7. Doing a performance and recording the piece in a concert.

5. Execution&Analysis

5.1 Characteristics of Twelve-tone Technique

Hybrid Pedagogy Publishing describes in its website the

definition of twelve-tone technique as:
“Twelve-tone music is more often associated with a compositional
technique or style, called serialism. The terms are not equivalent,
however, the serialism is a broad designator referring to the ordering
of things, whether they are pitches, durations, dynamics, and so on.
Twelve-tone composition refers more specifically to music based on
orderings of the twelve pitch classes. This style of composition is

5
 most associated with a group of composers whose figurehead was
Arnold Schoenberg and which also included the influential composers
A n t o n We b e r n a n d A l b a n B e r g . B u t t w e l v e - t o n e
compositional techniques and ideas associated with such techniques
were very influential for many great composers, and serial and twelve-
tone music is still being written today. Much of this music shares
similar axioms, outlined below, but composers have used these basic
ideas to cultivate entirely original approaches3”.

Twelve-tone music is based on dodecaphonic series (sometimes called

rows) or free series. Dodecaphonic series contain twelve notes of the
chromatic scale and any note is repeated in each row. The composer
uses the prime form, retrograde (prime form in reverse order),
inversion (is the prime form with the intervals inverted) and
retrograde inversion (is the inverted row in retrograde). Free series,
however, use the prime form, but it do not use the other series.
So, through this analysis I am going to know which kind of series did
she used (dodecaphonic or just the prime form).

5.2 Evolution from classical music to atonality

The main difference between classical music and dodecaphonic

music is the absence of tonality in the last one.

Classical music (XVII-XIX) has a clear melody, tonality and

homophony. The word “classical" is a period of time in Western
Art Music that describes the music of Haydn, Mozart,

3 Shaffer, K. Wharton, B. (2018) Twelve- Tone Theory. Available at: http://openmusictheory.com/

twelveToneBasics.html

6
 Beethoven, Schubert and Chopin. The general time designations
are Renaissance, Baroque, Classical, Romantic, and Modern….
But it does not mean that Classical music is not still being
composed nowadays, although it is far different than when it
was created several hundred years ago4.
For instance, Alfred Desenclose (1912-1971) is an example of a
classical saxophone composer and he belongs to the 20s.

This essay from The New York Times talks about the founder of
atonality briefly:

“As music developed in the late 19th century, Wagner, Mahler,

Debussy, Strauss and other pioneers pushed at the boundaries of
that mooring and weakened the pull of the tonal center. In ten
years of the 20th century, the whole business was in crisis,
Schoenberg argued.

So he started composing in a harmonic language, unhinged from

tonality: atonality. His works in this style, expressionistic pieces
like “Erwartung,” sound as if they were conceived through a
harmonic free association almost.

Other composers also found Schoenberg’s invention liberating.

One branch took the systematizing principle radically, further by
placing rhythms and dynamics as well as pitches into
predetermined series; hence the term serialism. In the 1960s and
’70s, 12-tone music and serialism were treated like scientific
disciplines done by composers who worked at universities,

4 Hohstadt, L. Available at: http://lowellhohstadt.com/what-is-classical-music/

7
 where their research, to call it in this way, was interesting to
other composers mainly5 ”.

5.3 Biography of Jeanine Rueff

5.3.1 Biography
Jeanine Rueff 6 was born in Paris and she
studied at the Conservatoire de Paris
with Tony Aubin, Henri Challan, Jean,
Noël Gallon and Henri Busser. In 1948,
she won the second place in the Grand
Prix of Rome with Odette Gartenlaub.
Rueff worked since 1950 as an assistant in the
saxophone class of Marcel Mule and in the clarinet class of
Ulysse Delecluse at the Conservatoire of Paris. In 1960 she
became a teacher of Solfège sight singing, and from 1977 to
1988 she taught harmony.

Her most famous pupil was Jean-Michel Jarre. In 1945, Rueff

received the Prix Favareille-Chailley-Richez for a jazz piano
quintet. She also composed the chamber opera Le Femme
d'Enée (1954), a concerto for four saxophones and a
Symphonietta (1956).

The ensemble Saxallegro (with Hannes Kawrza, in the

saxophone, and Florian Pagitsch, in the organ) recorded her
Chanson et Passepied together with works by Eugène Bozza,

5 Tomassini, A. (2007) Unraveling the knots of the 12 notes. Available at http://www.nytimes.com/

2007/10/14/arts/music/14tomm.html

6 (2018) Jeanine Rueff. Available at https://en.wikipedia.org/wiki/Jeanine_Rueff

8
 Pierre Max Dubois, and Jacques Ibert, and the recording was
done on a CD. In 1999, she provided some concert pieces for
bass trombone in the program of the Concours International of
Trombone in Guebwiller. Rueff passed away on 22 September
1999, and the saxophone quartet Ledieu 2000 gave a concert in
her memory.

When Daniel Deffayet replaced Marcel Mule, they had a very

good relation, and after this she wrote several pieces for
saxophone, for example:

5.3.2 Pieces for saxophone:

• Chanson et Passepied op. 16
• Concertino op. 17 saxophone and orchestra
• Concert en quatour for saxophone quartet.
• Trois pour deux.
• Sonate for alto saxophone
• Concertino op. 17 saxophone and orquestra
• Concert en quatour for saxophone quartet
• Andantino Et Scherzando, alto saxophone and piano
• 8 Pièces En Deux Recueils, alto saxophone and piano, Caractères
Volume 1 et 2.
• Mélopea (1954)

5.3.3 Pieces for other instruments:

- Violin, clarinet, tenor saxophone and piano quartet Op.22 (1928-1930)
- Mobiles, trumpet and piano
- Sonatine, trumpet and piano
- Fantaisie concertante, cornet and piano

9
 - Quinze études, for Bb Clarinet
- Vingt Leçons de solfege
- Études d´intervalles, 18 leçons de solfege

5.4 Biography of Daniel Deffayet

5.4.1 Biography

7started
Daniel Deffayet
studying solfege when he
was 7, violin at the age 8
years, and saxophone at 12.
Entranced by the warmth
and beauty of the
saxophone's tone quality,
which he heard through the
recordings of Marcel Mule
in the 1930s, Deffayet began
to study the instrument with Mule in 1938. When the class of saxophone
was established in 1942, and Mule appointed the professor at the Paris
Conservatory (C.N.S.M.*), Deffayet was a member. In the Spring of
1943, he won the First Prize for Saxophone, First Named. He also was
graduated in Chamber Music (1944, J. Benvenuti's class), violin (1945,
A. Tourret's class), and harmony (M. Durflé's class).

In October, 1940, Deffayet began replacing Mule for various

engagements at the Opéra and Opéra Comique. As an orchestral
musician, Deffayet performed under the direction of such famous
conductors as Dorati, Kubelik, Boulez, Bernstein, Maazel, Markevitch,

7 Daniel Deffayet Biography. Available at: http://adolphesax.com/index.php/en/information/articles/

saxophone/193-biografia-daniel-deffayet-ingles

10
Martinon, Monteux, Leinsdorf, Paray, Villa-Lobos, Fricsay, Cluytens,
Munch, and Ozawa. Since 1966 until his death in 1988, Herbert von
Karajan called him to be his accredited saxophonist for important
recordings and to play solos with the Berlin Philharmonic Orchestra. He
has also played regularly with several Parisian orchestras, including the
Orchestre National, Opera, Philharmonique, and many others.

Deffayet began his career as a techer in 1948, and he was a professor at

municipal Conservatories in Paris, the École Municipale de Musique de
Beauvais, and at the Conservatoire of Mans. For many years, he taught
with Allard Mayor, who created the Conservatory of the 10th
arrondissement, the first of the municipal Conservatories in Paris.
Tuition was free, with an education provided by benevolent professors,
to provide a larger access for students to music; some students have
been able to enter in the Paris Conservatory*.

When Mule retired in 1968, after 25 years of teaching, Deffayet

succeeded him and continued the spirit of the French saxophone school.
He remained there over 20 years, and was appointed as Honorary
Professor of the Paris Conservatory*.

In 1953, the year he debuted as a soloist, playing Ibert's Concertino da

Camera, he formed the Quatuor of saxophones Daniel Deffayet. The
quartet performed several concerts in France, and some important tours
have taken the group to England, Sweden, Germany, Switzerland,
Canada, the United States, Japan, and Korea, until 1988, when the group
disbanded.

Since that time, Deffayet has collaborated with Leduc publishing house,
transcribing certain works for saxophone. Deffayet and Vandoren have

11
had a relationship since Deffayet was 21, when the company was
managed by Robert Vandoren.
Finally, he was died in 2002.

5.4.2 Works recorded by Daniel Deffayet

- Ibert: Concertino da Camera (Epic)


- Woodwind Music: Gallois-Montbrun, Glazunov (Musical Heritage

Society)


- Double Concerto (RTF-Barclay)


- Debussy: Rapsodie (ERATO)


- Daniel Deffayet, Alto Saxophone: Boutry, Gallois-Montbrun, Rueff

(Crest)


- George Bizet: L'Arlesienne Suites 1 & 2 (Deutsche Grammophon)


Oeuvres de P.M. Dubois, Challan, Planel (EMI)


- Le Quatuor de Saxophones Deffayet Rueff, Tisné, Pascal (CBS

Sony)


- Quatuors de Saxophones: Desenclos, Pierné, Rivier, Schmitt (EMI)


- L’ Art suprême du Quatuor de Saxophones (CBS/Sony)


- Piéces Classiques, Célébres: arr. by M. Mule (London)


- Le Quatuor de Saxophones Deffayet: Glazunov, Feld, Schmitt

(Crest)

12
5.5 Analysis of the piece

FIRST MOVEMENT:
3 Sections

This first movement has 213 bars

A-B-A’ Form

First Part Second Part

1st Section (1-28) (29-96)
(1 to 96) 1st Subpart: 1-14 1st Subpart:
2nd Subpart:14-28 29-44
2nd Subpart:
44-58
Topic b:
59-96

2nd Section 97-116 117- 128

(97 to 128)
3rd Section (129-158) (159-213)
(129 to 213) 1st Subpart: Subpart:
129-144 159-174
2nd Subpart: Topic b:
144-158 175-213

The climax of the first movement appears at the 94 bar in the first

section (F # 4).

The second section is divided in two parts. One begins in piano with

very rhythmical motives, and the other one starts in forte and legato,

contrasting between them.

13
 The third section begins in forte and two tones and a semitone
higher compared to the beginning.

In this movement there are three very different parts:

1. - Strong dynamics and aggressive character

2. - Mezzo forte and legato

3. - Topic B (Starts in piano and gradually increases the intensity)

This topic that I called B appears in the first and the third
section, beginning in piano and raising the intensity little by
little until the music ends up with a very strong dynamic. The
8/16 creates an irregular rhythm.

14
 After that, I am going to show the original serie (O) used in the
first movement, and I am going to develop the retrograde (R),
the inversion (I) and the retrograde - inversion (RI).

Original Serie (row)

Retrograde Serie

!
Inverted Serie

Retrograde- Inversion Serie

15
 SECOND MOVEMENT

52 Bars

This second movement has 3 Sections (p, mf, f)

ABC Form

The second section shows the climax of the movement (bar 28),
also the note F # 4 is very strong.
It is a very sensitive and expressive movement which you have
to play a C2 and a B1 in a very soft dynamic, fact that makes
unnecessary to master the low register of the instrument.

1st Section Beginning, piano (1-15)

2nd Section Central Part, Mezzo- (16-33)

forte

3rd Section Final Part, forte (34-52)

First Section: bars 1-15 BEGINNING, piano

Second Section: bars 16-33 CENTRAL PART, mezzo-forte

16
Third Section: bars 34 -52 FINAL PART, forte

!
Then, I am going to show the original series (O) used in the
second movement, and I am going to develop the retrograde (R),
the inversion (I) and the retrograde - inversion (RI)

Original Serie

Retrograde Serie

Inverted Serie

Retrograde- Inversion Serie

17
 THIRD MOVEMENT
308 Bars

This third movement has 3 Sections

A-B-A’ Form

It finish as it starts, in F.

First Part Second Part

1st Section (1-48) (49-111)
(1 to 111) 1st Subpart: 1-20 1st Subpart: 49-69
2nd Subpart:20-48 2nd Subpart:70-86
3rd Subpart: 87-108

2nd 1st Subpart: 112-128

Section 2nd Subpart:129-151
(111-160) 3rd Subpart:152-160

3rd (162-230) (231-275)

Section 1st Subpart: 162-182 1st Subpart:231-250
(162 to 2nd Subpart:183-199 2nd Subpart:251-275
308) 3rd Subpart:200-221 Coda: 276-308

The first section has two parts, the first rhythm (A) in piano and
the second in forte and legato (B). There is a great quantity of
quarter note triplets in this second part and a remarkable amount
of big intervals, including some of them in a 14th.

Topic A

18
 Topic B

The second section is based on ternary measures (6/8, 3/8, 5/8).

The third section uses the motives of the first section but in a
different order. First, topic B and then, topic A, ending with a
coda. This coda is based on themes from topic A.

Afterwards, I am going to show the original serie (O) and I am going to

develop the retrograde (R), the inversion (I) and the retrograde inversion
(RI) (although only the original appears):

19
 Original Serie

Retrograde Serie

Inverted Serie

Retrograde-Inversion Serie

5.6 Piece

20
IISECTION
SECTION
I PART ORIGINAL SERIE

II Subpart

II PART I Subpart

II Subpart

18
21
 TOPIC b

Progression

CLIMAX FIRST MOVEMENT

II SECTION Topic b
I PART I Subpart

19
22
 Progression

II PART II Subpart

III SECTION
+ IV I Subpart
I PART

II Subpart

20
23
 II PART

TOPIC b

As at the beginning 8ª

21
24
 I SECTION
I ISECTION
SECTION ORIGINAL SERIE
I SECTION

1 ST

Resolution II SECTION

+ TEMPO

Progression CLIMAX

III SECTION

22
25
 I SECTION
ORIGINAL SERIE
I PART (I Subpart)

Progression

(II Subpart)

II PART

II PART (I Subpart)

(II Subpart)

23
26
 9ª

(III Subpart)

II SECTION
(I Subpart)

(II Subpart)

V (Come back to the I Subpart)

24
27
(III Subpart)

III SECTION (I Subpart)

I PART
1 ST

(II Subpart)

(III Subpart)

Variation Topic b I Movement

II PART

25
28
II PART (I Subpart)

(II Subpart)

CODA

26
29
5.7 Conclusion

Jeanine Rueff´s Sonata is a dodecaphonic and a solo piece

(without tonality and any accompaniment). It has three
movements, 563 bars, and twelve minutes and thirty seconds of
duration, approximately. Jeanine Rueff composed that piece in
1967 and it was published in 1969 by Alphonse Leduc. As I said
before, it was dedicated to Daniel Deffayet. This Sonata form
(A-B-A) is divided in three important sections: Exposition,
Development and Recapitulation.

When I was looking for information on the Internet, some

magazines, books and libraries, I saw that the music of Jeanine
Rueff was always trying to look for new possibilities of the
saxophone. For instance, she tried to use all the saxophone
register (in all the movements), using some dynamics from
pianissimo (pp) to fortissimo (ff), and writing a lot of difficult
jumps between several octaves.

The movements do not have any title, but they were written as
“Allegro, Adagio and Prestissimo". The used register includes
from "B 1" to "F # 4”.
Definitely, the Sonata shows a high technic level, some wide
intervals, a difficult execution of low notes in piano and a
complex variation of measures for the saxophone player; that
fact, offers you the opportunity to show your virtuosity (in the
third movement especially).

30
Musically, the saxophonist should pay special attention to the F
# 4, present at the climax points of each movement. It is obvious
that these notes are the highest points, since there is a slow build
before each motive, and they are interpreted in fortissimo each
time they appear. In addition, the character and the rhythm are
very important for the performance and allow the listener to be
“awake” during the entire piece.
In my opinion, a lot of saxophone players are the most part of
the time practicing technique and reading scores without paying
attention to other details hidden in the piece, as the musicality.

The "Sonata" by Jeanine Rueff is a composition of the highest

quality, and is one of the best written compositions for a solo
saxophone.

6. DISCUSSION

Did the composer use some dodecaphonic series in the piece or

did she write it in a free form?
I found interesting to do the analysis of Jeanine Rueff Sonata
because there is not any previous analysis of this work on the
Internet or any different resource. Moreover, I consider that in
XX Century it had to be a very difficult task to be a relevant
composer, and specially, being a woman. So, this work is also in
gratitude for Jeanine Rueff and other women composers as Ida
Gotkvosky, for their courage and work.
Having analyzed the Sonata, I was very surprise when I did not
find any inverse, retrograde-inverse and retrograde series in the
movements. As I said in chapter 5.1, dodecaphonic piece might

31
have been written free form or using some series (original,
retrograde, inverse and retrograde-inverse). I wrote them in the
structure because I wanted to check if she used them or not.
In that case, she wrote free form, using only a serie at the
beginning of each movement only and developing it (changing
the notes, using other measures, dynamics and tempo), in the
first and third movements specially.
In the first movement, the original serie appears twice
identically [I Section (I Part) and III Section (II Part)]. In II
Section (I Subpart) only some motives of it appear. In III
Section (I Subpart) she used this serie but with two tones and a
semitone.
However, in the second movement the prime form appears at the
beginning only. She did not use the serie anymore but we can
see how in the III Section she used the same structure but with
other notes.
In the third movement, she used the same serie 4 times exactly
[I Section (I Part) and (III Section (II Part)]. And, at the end, she
did not use the same serie but she put the same structure.

It is a frequent resource to repeat sometimes the same structure

with the notes of the original serie and other times with different
notes. So, in conclusion, the original serie is a very important
part of the piece.

In addition, my performance in my exam concert was much

easier; I played it much better musically and artistically than last
year, when I played it for the first time. Daniel Deffayet´s
recording it was very helpful in my performance too. Nowadays,
we do not use the same vibrato than 50 years ago but he showed

32
me the breathing, the tempo, the character and the necessary
sound to play the piece very well.
The advantage of this thesis was to get an excellent
interpretation too.

Therefore, having analyzed the work, looking for documentation

about twelve-tone music and about the composer, etc., it has
more sense to play it. Apparently, it seems a work that could be
performed without any difficulties, but when you start working
on it, you realize how complex it is to reach a good technic and
to be perfect artistically. It must be added that it is always more
difficult to perform a piece without any accompaniment and
being alone in the hall or stage.

However, playing twelve-tone or contemporary music to a

general audience is still a difficult task. Non-musicians do not
understand this kind of music and they do not like it usually
(even for musicians sometimes it is a bit hard to listen to
contemporary music), so they prefer to attend to other kind of
concerts.

Thanks to this work, I realized the importance of Daniel

Deffayet as a saxophonist and how he promoted many of the
most important works of the saxophone repertoire.

33
7. REFERENCES

• Books:

-Asensio Segarra, Miguel. (2004). Historia del saxofón.

Valencia: Rivera Mota, S.L.

-Károlyi, Ottó. (1995). Introducción a la música del Siglo XX.

Madrid: Alianza Editorial, S.A

-Morgan, Robert P. (1994). La Música del siglo XX. Madrid:

Ediciones Akal, S. A.

-Perle, George. (1999). Composición serial y atonalidad. Una

introducción a la música de Schönberg, Berg y Webern.
Barcelona: IDEA BOOKS, S.A.

• Webs:

-Pablo Ransanz Martinez (December 2005) "La esencia del

dodecafonismo”. Available at: http://www.filomusica.com/
filo71/dodecafonismo.html [ Accessed December 2017]

-Pedro A Sarmiento R. ( January 2005) " Dodecafonismo,

s e r i a l i s m o y a t o n a l i s m o ” . Av a i l a b l e a t : h t t p : / /
w w w. m u s i n e t w o r k . c o m / f o r o s / i n d e x . p h p ?
action=dlattach;topic=771.0;attach=1515. [ Accessed December
2017]

-Juan de Mairena ( 27 April 2011) "Atonalismo y

dodecafonismo" Available at:

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https://historiadelamusica.wordpress.com/2011/04/27/el-
atonalismo-y-el-dodecafonismo/ [ Accessed January 2017]

-Daniel Durán ( 22 July 2008) "Biografía Daniel Deffayet".

Available at:
h t t p : / / w w w. a d o l p h e s a x . c o m / i n d e x . p h p / a r t i c u l o s -
sp-1223929572/191-biografia-daniel-deffayet-espanol.
[ Accessed January 2017]

- Shaffer, K. Wharton, B. (2018) Twelve- Tone Theory. Available

at: http://openmusictheory.com/about.html [ Accessed january
2017]

- Hohstadt, L. Available at: http://lowellhohstadt.com/what-is-

classical-music/ [ Accessed January 2017]

- Editors of Encyclopedia Britannica (2018). Adolphe Sax.

Available at: https://www.britannica.com/art/musical-
performance/Historical-stylistic-developments#ref529520.
[ Accessed January 2017]

• Recordings by Daniel Deffayet

-Les classiques du Saxophone, Daniel Deffayet with the

pianist Fuyiko Yamada. ( King record Co Ltd , July 1977)

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